Script for `Young Man' unworthy of Pulitzer
The Alley Theatre's current play, The Young Man from Atlanta, makes jokes about "disappointment clubs." Unfortunately, it could belong to one.
The fault isn't the Alley's. True to their high standards, the acting, direction and technical work don't disappoint.
Horton Foote's play itself, however, does. The play may have won the 1995 Pulitzer Prize, but the drama makes for a long hour and 45 minutes.
Maybe The Young Man from Atlanta deserves the same criticism as Waiting for Godot : an interesting play to read, analyze and discuss critically, but a tryingly static show to watch. Most of the play takes place in the same living room, there's little physical action and even most of the conversations offer little of interest. The minimalist sets and 1950s costumes seem a waste of the Alley's impressive capabilities in those departments.
At its best moments, The Young Man from Atlanta manages to be a compassionate and occasionally humorous portrayal of an affluent family's transformation as they come to terms with the truth about the loss of their son. The rest of the time, it's an unengaging picture of upper-middle class Houston in 1950.
The title character, who never appears on-stage, comes to Houston and contacts Will and Lily Dale Kidder (Ralph Waite and Carlin Glynn). The Kidders' bedrock belief in America and in God takes them only so far when their adult son inexplicably kills himself. This mysterious young man lived with their son, and he reveals truths they may not have wanted to know.
Lily Dale's stepfather, Pete Davenport (James Pritchett), and Pete's egregious great nephew, Carson (Michael Lewis), visit the couple and try to help. Stuffy businessmen (Devon Abner and Seth Jones), Will's secretary (Christina Burz) and two housekeepers (Lynda Gravatt and Beatrice Winde) round out the cast.
Director Peter Masterson and Glynn began their distinguished careers at the Alley. Except for Waite, all of the other actors make their Alley debut with this show. Most of the acting is good; unfortunately, sitting through much of the drama feels more like a visit to my grandparents' house than watching a play.
Waite, an actor best-known for his 10 seasons as John Walton on TV's "The Waltons," plays a somewhat-less-sanguine old man. As Will Kidder, he manages to appear appropriately crotchety.
Pritchett assumes the role of the doddering old Pete especially well. Both his vocal timbre and his movement remain remarkably convincing and often tenderly humorous throughout.
Winde, who plays the Kidders' retired housekeeper Etta Doris, also deserves praise. Her portrayal of an elderly African-American woman whose spirit hasn't died makes a wonderful foil for her former employer's physical and emotional deterioration. I felt a lot of respect for her as I watched.
Glynn's over-the-top rendition of the Bible-thumping Lily Dale, however, reminded me that I was watching an actress on stage. She didn't look as natural as the other actors. In particular, her upper body gestures were a bit too exaggerated.
In the final scene, not only her acting but also the script falls into almost melodramatic pathos. The Kidders talk about the loneliness and emptiness of their lives and how they never really knew each other.
Another big problem with The Young Man from Atlanta is that it idolizes old age and presents youth and change as evil things. When Will loses his job so that young, fresh minds can take over, we are supposed to feel sorry for him. None of the young characters are particularly admirable. This doesn't exactly make the play recommended viewing for Rice students.
The Young Man From Atlanta runs at the Alley Theatre through March 16. Call 228-9341 for info.
This item appeared in the Arts & Entertainment section of the March 1, 1996 issue.
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